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Click here to subscribeKleine Vase / MiniaturvaseÉmile Gallé, Nancy um 1906-1914. Opakweißes Glas. Mehrschichtiger orange-roter Überfang. Geätzter und geschnittener umlaufender Dekor. Matt geätzt. Ausgeschliffener Abriss. Auf der Wandung bez.: Gallé (Cameo). H. 9,5 cm. - Zustand: Oberfläche mit vereinzelten Strichen.
Konische Vase SommersoMurano. Farbloses Glas mit hellblauem und rotem Innenüberfang. Ungemarkt. H. 22,5 cm. Die Vase erinnert an Inciso-Serie von Venini aus dem Jahr 1956 - jedoch wurde diese nicht mehr mit Oberflächenschnitt versehen oder an die Arbeiten von Flavio Poli (Chioggia 1900-1984 Venedig), die bei Seguso Vetri d'Arte, Murano ausgeführt wurden. - Zustand: Standfläche mit leichten Gebrauchsspuren. Min. Chip im farblosem Glas unten.
Vase mit Maikäfer - aus der Unikatserie "Poesie in Glas"Glashütte Eisch, Frauenau 1996. Farbloses Glas, opakweiß und gelblich. Rand Gold bemalt. Lüstermalerei in Grün-, Braun- und Rottönen, handbemalt. Emailmalerei in Weiß und Gelb. Ausgeschliffener Abriss. Auf dem Stand bez.: 96 Eisch S.E. H. 9,5 cm. - Lit.: Vergleiche Katharina Eisch. Die Eisch-Hütte. Portrait einer Bayerwald-Glashütte im 20. Jahrhundert. Grafenau 1988. S. 130ff.
Marie Berton-Maire1868 Roubaix - Blumenvase - Öl/Lwd. 65 x 53,7 cm. Sign. r. u.: M Berton Maire. Verso bez. und betit. auf Spannrahmen: M Berton Maire / Le Concours Salon des artistes français / 1. médaille d'or Paris 1942 / La vase de fleurs. Rahmen. Berton erhielt für ihre künstlerische Arbeit mehrere Auszeichnungen, darunter auch die bedeutende Goldmedaille des Salon der Société des artistes français in Paris 1942. Besonders farbenprächtiges Blumenstück in impressionistischer Malweise. Die in leuchtenden Rottönen gehaltenen Blüten des Blumentraußes sind dabei so pastos gearbeitet, dass sie fast reliefartig aus der Komposition hervortreten und der Darstellung so Tiefe verleihen.
A MASSIVE BRONZE VASE WITH DRAGONSJapan, Meiji period (1868-1912)A massively cast and unusually large bronze vase of baluster shape, the shoulder carved with a concentric band of swirls in relief, further decorated with two sinuously writhing celestial dragons bending around the body, worked in increasingly higher relief, appearing like they are emerging from the vessel, the scales and other details very finely incised.HEIGHT 72 cmWEIGHT 27.9 kgCondition: Very good condition with minor general wear and casting flaws. Repair to one hand and a loss to one whisker. The inset base ring possibly added. Presents beautifully.Provenance: A private collection in Massachusetts, USA. Remnants of an old label to the interior.
HIDEMITSU: A SUPERB AND LARGE BRONZE VASE DEPICTING HERONS AND LOTUSBy Hidemitsu (Shuko), signed Hidemitsu seiJapan, Tokyo, late 19th century, Meiji period (1868-1912)The pear-shaped body supported on a waisted foot and rising to a slender octagonal neck with a flared rim, the body superbly cast in relief with a group of seven herons with long beaks and gilt-ringed shakudo eyes perched amid lotus leaves executed in shallow relief which displays a particularly fine, almost misty quality. The other side of the vase is similarly cast with a hanging lotus leaf and a rising lotus pod. The bronze patinated to a warm coppery tone. The base cast HIDEMITSU sei [made by Hidemitsu].HEIGHT 45.5 cmWEIGHT 4,374 gCondition: Very good condition with some wear and minor casting flaws.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
KOITSU: A FINE AND LARGE NOGAWA COMPANY INLAID BRONZE VASE WITH A LONG-TAILED ROOSTER AND CHERRY BLOSSOMSBy Koitsu for the Nogawa company, signed Koitsu and with Nogawa company markJapan, late 19th century, Meiji period (1868-1912)The tall baluster-shaped bronze vase masterfully inlaid in iroe-e takazogan of rich silver, gold and copper, the details engraved in katakiri-bori, depicting a long-tailed rooster (onagadori) perched on a beautifully blossoming sakura tree. Incised signature KOITSU to the side and with the Nogawa company mark underneath.HEIGHT 36 cmWEIGHT 3,187 gCondition: Excellent condition with minor wear.Founded in Kyoto in 1825, during the Meiji era the Nogawa Company developed into a commissioning house that showed at major international expositions between 1893 and 1910 as well as at the Naikoku Kangyo Hakurankai (Domestic Industrial Promotion Exhibitions) in 1881 and 1890. The company had a popular store that was on the "must-see" list for international globetrotters, as well as showrooms in the Kyoto and Miyako Hotels.Auction comparison:Compare a related Nogawa company vase of similar size bearing a different design at Zacke, Fine Japanese Art, 2 December 2022, Vienna, lot 62 (sold for 13,000 EUR).
OHASHI SAN'EMON: A MASTERFUL PAIR OF BRONZE TAKAOKA SHO-FORM KORO (INCENSE BURNERS)By Ohashi San'emon (Sanzaemon, 1851-1895), signed Dai Nihon Teikoku Toyama Ken Takaoka Shi Ohashi San'emon seizoJapan, Takaoka, late 19th century, Meiji period (1868-1912)Each censer multi-tiered and set on a hexagonal base surmounted by six flared feet formed as baku. An open-worked structure with six roof tiles showing various beast masks, ho-o and shachihoko (dragonfish) supports the large container for incense in the shape of a sho (Buddhist reed instrument) with dragon handles and further decorated in masterful iro-e takazogan as well as shakudo and gold hirazogan with ho-o birds, various instruments and mon-emblems.Each with an incised inscription and signature to the base: Dai Nihon Teikoku Toyama ken Takaoka Shi OHASHI SAN' EMON seizo [Made by Ohashi San'emon, Takaoka City, Toyama Prefecture, Great Imperial Japan].HEIGHT each 49 cmWEIGHT 7,333 g & 7,565 gCondition: Very good condition with minor wear and traces of use.Provenance: Private collection in Massachusetts, Boston.Ohashi San'emon was born in 1851 and died in 1895, his most active period was between 1875-1895 and his contemporary metal artists were Kakuha Kanzaemon IX (Kakuha Zenjiro), Yokoyama Yazaemon II (1845-1903) and Kanamori Soshichi (1821-1892), who were pioneering doki (Japanese bronze ware) based in Takaoka, Etchu Province and Kaga Province, present-day Toyama and Ishikawa prefectures. They made many fine bronze items for domestic and foreign exhibitions and for the oversea markets.The history of casting copper alloys in Takaoka, the provincial capital of Etchu (present day Toyama Prefecture), is reputed to date to the early Edo period, the industry encouraged by the local feudal government as a source of income. Around 1830, new sales venues were developed, extending from Edo city to the northernmost part of the Japanese archipelago, eventually expanding to overseas export markets during the Bakumatsu era.Auction comparison:Compare an inlaid bronze vase by Ohashi Sanzaemon at Bonhams, Fine Japanese Art, 13 September 2017, New York, lot 1059 (sold for 16,250 USD). Also compare a pair of bronze Takaoka vases, by Yazaemon II, at Bonhams, Tradition, Travel, Transition - Japanese Art across the centuries, 4 November 2021, London, lot 139 (sold for 12,750 GBP).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A SUPERB PAIR OF MIYAO-STYLE MIXED-METAL-INLAID AND PARCEL-GILT BRONZE VASES WITH SHOKI AND ONIJapan, late 19th century, Meiji period (1868-1912)Each vase with a baluster body supported on a spreading foot and rising to a gently waisted neck with flat everted rim, the shoulder with two long handles issued from baku heads, the exterior carved in high and sunken (shishiaibori) relief, inlaid in iro-e takazogan and hirazogan, and engraved in katakiri and kebori, with bamboo-framed panels surrounded by two snakes flanking a toad above and a snail below - an impressive example of the sansukumi motif. Each panel shows a different but complementary design, depicting on one vase a proudly standing Shoki holding his sword in one hand and extending the other, with a long-tailed pheasant amid chrysanthemums under a gnarled pine tree to the back; and on the other three oni depicted in different attitudes, one of them fighting back against the demon queller, the back with two long-tailed pheasants perched on a craggy rock. The body is further decorated with bamboo leaves, mushrooms, and leaves, the neck and foot with formalized bands.HEIGHT each 30.5 cmWEIGHT each 4.7 kgCondition: Very good condition with minor surface wear.Provenance: From the private collection of an intrepid and seasoned connoisseur who tirelessly travels the globe and acquires with passion, discernment and above all a sense of all-embracing eclecticism, bound by no rigid formula of what should constitute a worthy object save the admiration and wonder that it can produce in the viewer.The present pair of vases, impressively cast, finely carved in high and sunken relief, and masterfully inlaid in both hirazogan and takazogan, was clearly made by an extremely talented metalworker. The inspired use of inlays makes an attribution to the workshop of Miyao Eisuke reasonable. Although most often associated with large-scale bronze figures of samurai, the Miyao Company also manufactured or dealt in a wide range of craft goods including Shibayama-work panels and ivory figures. Apparently based first in Yokohama and then, after about 1890, in Nihonbashi-ku, Tokyo, the company is first recorded at the second Naikoku Kangyo Hakurankai (National Industrial Exposition) where Miyao Eisuke collaborated with the bronze caster Momose Sozaemon in the production of a bronze figure of seven drunken shojo.The combination of snake, frog, and snail (or slug) constitutes the sansukumi motif. Sansukumi translates to 'the three who are afraid of one another'. The three animals are in a state of mutually assured destruction: the snake will consume the frog, however the frog has already eaten a poisonous snail, so the snake must perish as well. This motif is connected to sansukumi-ken, a category of Japanese hand games played by using three hand gestures. The oldest sansukumi-ken game is mushi-ken, a game originally from China. In mushi-ken, the 'frog' represented by the thumb wins against the 'slug' represented by the pinkie finger, which, in turn defeats the 'snake' represented by the index finger, which wins against the 'frog'. Although this game was imported from China, the Japanese version differs in the animals represented. In adopting the game, the original Chinese characters for centipede or millipede were apparently confused with the characters for the 'slug'. The centipede was chosen because of the Chinese belief that the centipede was capable of killing a snake by climbing and entering its head. One of the few surviving sansukumi-ken games is jan-ken, which was brought to the West in the 20th century as rock paper scissors.
SHUNGAKU: A FINE MIXED METAL KOGO (INCENSE BOX) WITH ONI YURI (TIGERLILY)By Shungaku, signed Shungaku kokuJapan, Meiji period (1868-1912)Of shibuichi, the flush-fitting lid engraved and inlaid in gold and silver high relief with a single stalk of oni yuri (tigerlily), signed on the base with chiselled characters SHUNGAKU koku (carved by Shungaku).DIAMETER 6 cmWEIGHT 126 gCondition: Excellent condition, minor wear.Provenance: Belgian private collection, purchased at Bonhams, Fine Japanese Art, 11 May 2017, London, lot 398.Auction comparison:Compare a vase with flower design by Shungaku at Bonhams, Fine Japanese Art, 5 November 2009, London, lot 299 (sold for 3,600 GBP).
MASATADA: AN IMPERIAL PRESENTATION INLAID BRONZE VASE WITH KIKUMON (CHRYSANTHEMUM SEAL)By Masatada, signed Masatada (Seichu)Japan, Meiji period (1868-1912)Of slender baluster form, supported on a short foot and rising to a tapered neck with incurved rim, finely decorated in shakudo and copper hirazogan with a band of stylized sparrows above a band of formalized floral designs, all above a silver takazogan sixteen-petaled kikumon (Chrysanthemum Seal), the Imperial Seal of Japan. The base with the silver-inlaid signature MASATADA.HEIGHT 27.4 cmWEIGHT 1,486 gCondition: Excellent condition with minor wear and casting irregularities.The Chrysanthemum Seal (kikumon) found on the present vase indicates it was commissioned by the Emperor of Japan or a member of the Imperial Family. The Imperial Seal of Japan or National Seal of Japan, also called the Chrysanthemum Seal (kikumon), Chrysanthemum Flower Seal (kikukamon, kikukamonsho) or Imperial chrysanthemum emblem (kikunogomon) is the crest (mon) used by the Emperor of Japan and members of the Imperial Family. It is one of the national seals of Japan and is used in a manner similar to the national coat of arms of Japan. During the Meiji period, no one was permitted to use the Imperial Seal except the Emperor of Japan, who used a 16-petaled chrysanthemum with sixteen tips of another row of petals showing behind the first row. Therefore, each member of the Imperial family used a slightly modified version of the seal. Shinto shrines either displayed the imperial seal or incorporated elements of the seal into their own tag.
ANDO JUBEI: A SUPERB MORIAGE CLOISONNÉ ENAMEL VASE WITH FRUITING PERSIMMON TREEBy Ando Jubei (1876-1953), signed Ando sei and with the Ando company markJapan, early 20th century, Meiji (1868-1912) to Taisho period (1912-1926)Of baluster-shape, the quatrefoil-lobed very finely worked in silver wire with brightly colored enamels arranged in four panels with bamboo (take), iris (shobu), plum (ume), and chrysanthemum (kiku), masterfully worked in the moriage technique. The mouth and foot rims of silver, stamped jungin (pure silver), and signed to the underside in seal script ANDO sei [made by Ando] and with the Ando company mark.HEIGHT 31.4 cmWEIGHT 2,551 gCondition: Excellent condition. Provenance: From a private collection in Denver, Colorado, USA. With a hand-written note from Shangrila Asia Museum appraising the present piece.Moriage (lit. 'piling-up') is a painstaking technique, which requires extreme care, especially at the polishing stage; it involves the building up of layers of enamel to produce a three-dimensional effect. It was ideally suited to natural subjects such as plants and flowers. The difficulty of the technique coupled with its striking effect has made moriage cloisonné works highly cherished by collectors. Ando Jubei (1876-1953) was a Japanese cloisonné artist from Nagoya. Along with Hayashi Kodenji, he dominated Nagoya's enameling industry in the late Meiji era. Ando, Namikawa Yasuyuki, and Namikawa Sosuke are considered the three artists whose technical innovations brought in the "Golden Age for Japanese cloisonné" in the late 19th century.Ando Jubei was the Meiji era's most prolific creator of presentation wares (artworks that were commissioned by members of the Imperial Family for presentation to foreign dignitaries). He exhibited at the Japan-British Exhibition of 1910.Auction comparison:Compare a related moriage cloisonné vase bearing a similar design of chrysanthemum, bamboo, plum, and iris, also signed Ando sei and with Ando company mark, at Christie's, An Inquiring Mind: American Collecting of Japanese and Korean Art, 22 April 2015, New York, lot 121 (sold for 20,000 USD).
ANDO JUBEI: A FINE CLOISONNÉ ENAMEL VASE WITH FRUITING PERSIMMON TREEBy the workshop of Ando Jubei (1876-1953), signed with the Ando company markJapan, first half of 20th century, Taisho period (1912-1926) to early Showa period (1926-1989)Of baluster shape, worked in silver wire and musen-shippo (wireless) with brightly colored enamels depicting a ripe persimmon tree with leafy branches heavy with fruit, the main branch masterfully silhouetted in wireless cloisonné against the pale-celadon ground. The leaves and fruit are worked with remarkable naturalism showing varying gradients of color simulating the subtle difference of ripeness of fruit and exposure to the sun of the leaves. With silver rims, stamped 'silver' and with the silver-wire Ando company mark to the underside.HEIGHT 24.5 cmWEIGHT 1,739 gCondition: Very good condition, some minor pitting, some light manufacturing-inherent crackling under the surface.Provenance: From a private collection, Australia.Ando Jubei (1876-1953) was a Japanese cloisonné artist from Nagoya. Along with Hayashi Kodenji, he dominated Nagoya's enameling industry in the late Meiji era. Ando, Namikawa Yasuyuki, and Namikawa Sosuke are considered the three artists whose technical innovations brought in the "Golden Age for Japanese cloisonné" in the late 19th century.Ando Jubei was the Meiji era's most prolific creator of presentation wares (artworks that were commissioned by members of the Imperial Family for presentation to foreign dignitaries). He exhibited at the Japan-British Exhibition of 1910.Auction comparison:Compare a related moriage cloisonné enamel vase decorated with a persimmon tree, by Ando Jubei, at Bonhams, Fine Japanese and Korean Works of Art, 12 September 2018, New York, lot 1218 (sold for 35,000 USD).
A FINE PLIQUE-À-JOUR VASE WITH BUTTERFLIESJapan, Meiji period (1868-1912)The baluster body supported on a short foot and rising to a waisted neck with bulbous mouth, the rims of silver, the translucent enamels worked in silver wire decorated with colorful butterflies and stylized clouds, against the pale green ground.HEIGHT 12.5 cmWEIGHT 127 gCondition: Very good condition with minor surface wear and fine, manufacturing-inherent cracks. In remarkably fine condition for this type. Provenance: From an old Austrian private collection, purchased at Dorotheum Auctions, Vienna.Auction comparison: Compare a closely related plique-à -jour vase, dated late 19th century, Meiji period, at Christie's, 13 July 2006, London, lot 399 (sold for 10,200 GBP).
A CLOISONNÉ ENAMEL VASE AND COVER WITH DRAGONS AND HO-OJapan, Meiji period (1868-1912)Of elegant shape, the bulbous body resting on a stem with circular base, the cover with a large knop in the form of a sacred tama jewel. The circular base is decorated with cresting waves, the main body with three sinuous dragons grasping sacred jewels against a yellow ground, and the cover with ho-o birds and floral crests.HEIGHT 35 cmWEIGHT 1,137 gCondition: A loss to the lid and to the lower part of the body. Otherwise, good condition with minor pitting and manufacturing flaws.
YABU MEIZAN: A VERY FINE SATSUMA VASE WITH BIRDS IN AUTUMNBy Yabu Meizan (1853-1934), signed Yabu MeizanJapan, late 19th to early 20th century, Meiji period (1868-1912)The baluster-shaped body with broad shoulders rising from a recessed foot to an everted flat rim, finely enameled and gilt to the sides and around the neck with a flock of birds flying around and perched on a trailing branch in autumn. The image stands out beautifully against the pure ivory-white crackled ground. Signed to the base YABU MEIZAN within a gilt seal.HEIGHT 16.5 cmCondition: Excellent condition with only minor wear to gilt.Auction comparison:Compare a related vase by Yabu Meizan with bird and autumn design, 23.6 cm high, at Zacke, Asian Art Discoveries - Japanese Art, 1 September 2022, Vienna, lot 55 (sold for 8,216 EUR).
KINKOZAN: A FINE SATSUMA CERAMIC VASE WITH FLOWER MOTIFBy the Kinkozan company, signed Kinkozan and sealed Kinkozan zoJapan, Kyoto, Meiji period (1868-1912)Of baluster shape, finely potted and painted with a deep cobalt-blue ground embellished with gilt plants and floral medallions save for a central reserve separated by a gilt 'bamboo' band in relief, the central image very finely painted with bright polychrome enamels and gilt depicting a spring scene of various flowers in full bloom including chrysanthemum, peonies, and wisteria as well as some baskets. Signed in gilt to the side KINKOZAN and with impressed seal mark to the underside KINKOZAN zo [made by Kinkozan].HEIGHT 14.5 cmCondition: Excellent condition with only very minor wear and rubbing to gilt.Provenance: Old Austrian private collection.The Kinkozan workshop was one of the most successful producers of so-called 'Kyo-Satsuma' (Kyoto Satsuma) wares. Like their equivalents from Osaka, Yokohama, and Tokyo, these pieces were Kyoto's response to the Western demand for delicately painted Japanese pottery. The exhibits at the 1867 Paris Expo fascinated the West and a great admiration for Japanese cultures known as Japonisme made exports of Kyo-Satsuma ware increase drastically.
A FINE HIRADO BLUE AND WHITE USUBATA-FORM VASEJapan, 19th centuryWell-modeled with a globular body supported on a short, tapered foot and rising to a tall flared neck with galleried rim, the shoulder and neck with finely and naturalistically molded crane-form handles, the exterior finely painted in shades of cobalt-blue with a gnarled pine tree with winding branches above leafy bamboo stalks.HEIGHT 20.2 cmCondition: Excellent condition with minor wear and firing irregularities, including a firing crack to the rim.Provenance: Property from the Estate of Paul Revere Jr. Paul Revere Jr. (1931-2019) was the third great-grandson of the American patriot and silversmith Paul Revere (1735-1818), who is best known for his midnight ride to alert the colonial militia in April 1775 to the approach of British forces before the battles of Lexington and Concord. In 1955, Paul Revere Jr. began a forty-year career as a sales manager with Revere Copper Products, Inc., a company that traces its roots to his famous ancestor. He served for fifty-three years as president of the Paul Revere Memorial Association, the non-profit that operates the Paul Revere House in Boston. During his tenure, he guided the institution from a small house museum staffed by retired public firemen to a renowned research and educational institution. He also served for many years on the board of the Freedom Trail Foundation and was active in the process of creating the Boston National Historical Park.
TOKUDA YASOKICHI III: A FINE KUTANI GLAZED PORCELAIN VASEBy Tokuda Yasokichi III (1933-2009), signed Kutani MasahikoJapan, late 20th centuryThe globular body supported on a circular foot and rising to a long neck with flaring rim, covered overall in a rich, lustrous, finely crackled, blue-green streaked glaze, save for the white foot and base signed KUTANI MASAHIKO below an impressed foliate design. With the original inscribed tomobako storage box.HEIGHT 29 cmCondition: Excellent condition.Tokuda Yasokichi III was designated a Bearer of Important Intangible Cultural Assets (a "Living National Treasure") in 1997 for his mastery of the innovative saiyu glaze technique, based on traditional Kutani colored glaze enamels as handed down from his grandfather and father, Tokuda Yasokichi I (1873-1956) and Tokuda Yasokichi II (1907-1997). Before he succeeded his father in 1988 as Tokuda Yasokichi III, the artist was known as Tokuda Masahiko.Auction comparison:Compare a closely related vase by the same artist at Christie's, Japanese and Korean Art, 22 March 2002, New York, lot 175 (sold for 6,463 USD).
TOKUDA YASOKICHI III: A FINE KUTANI GLAZED PORCELAIN VASEBy Tokuda Yasokichi III (1933-2009), signed Kutani MasahikoJapan, late 20th centuryThe globular body supported on a short broad foot and rising to a slender cylindrical stem-form neck, covered overall in a rich, lustrous, finely crackled, blue-green streaked glaze, save for the white foot and base signed KUTANI MASAHIKO below an impressed foliate design. With the original inscribed tomobako storage box.HEIGHT 27 cmCondition: Excellent condition.Tokuda Yasokichi III was designated a Bearer of Important Intangible Cultural Assets (a "Living National Treasure") in 1997 for his mastery of the innovative saiyu glaze technique, based on traditional Kutani colored glaze enamels as handed down from his grandfather and father, Tokuda Yasokichi I (1873-1956) and Tokuda Yasokichi II (1907-1997). Before he succeeded his father in 1988 as Tokuda Yasokichi III, the artist was known as Tokuda Masahiko.Museum comparison:Compare a related spherical vase by the same artist in the collection of the Metropolitan Museum of Art, accession number 2001.734.Auction comparison:Compare a closely related vase by the same artist at Zacke, Fine Japanese Art, 2 December 2022, Vienna, lot 121 (sold for 4,940 EUR).
CHARITY LOT - TENOVUS CANCER CARE: including BELGIAN LE FAUCHEUX TYPE PIN-FIRE REVOLVER, VINTAGE WADE WHIMSIES, BRITANNIA STANDARD SILVER 1969 INVESTITURE MEDALLION, ASSORTED CUT TABLE GLASS, FOUR LLADRO FIGURES, 'Cinderella' (4828), 'Medieval Maiden' (0270), & two young girl at bedtime figures, VICTORIAN LEAD ALLOY CIRCULAR WALL PLAQUE, depicting Grecian scene of musicians, SET OF 25 'PUNCH LIBRARY OF HUMOUR' IN OAK BOOK TROUGH, ASSORTED VICTORIAN & LATER 'CRANBERRY' GLASS, ROYAL WORCESTER BONE CHINA 'PERSIAN' BOTTLE VASE, dated 1884, shape number 871, TWO BOXED LLEWELYN-BOWEN FOR ROYAL WORCESTER CUPS & SAUCERS, PAIR MODERN COALPORT LIMITED EDITION BONE CHINA PLATES, by Swansea Porcelain Limited, ASSORTED 19TH CENTURY BLUE & WHITE PRINTED POTTERY, VARIOUS PORCELAIN ITEMS, PAIR OF DIORAMAS OF CHILDREN, depicting young girls in naturalistic setting, housed in domed cases, FIVE IRIDESCENT GLASS CARNIVAL BOWLS, COLLECTION OF APPROX. 81 EARLY 20TH CENTURY MAINLY BLACK & WHITE POSTCARDS, SET OF THREE CONTINENTAL PORCELAIN TABLE CANDLESTICKS, PAIR OF CLOTH DOLLS AS CARIBBEAN PLANTATION WORKERS the larger female with head-basket of picked produce, the smaller male in straw hat and exotic pants, believed early 20th Century
A delightful collection of silver and white metal items to include a cut glass violet flower vase measuring approx. 14cm in height x 4.5cm diameter Birmingham hallmarked; a square cut glass dressing table bottle measuring approx. 5cm square and standing (with glass stopper) approx. 14cm tall with hallmark; and a pen and ink (with white metal lid) set with oak plinth measuring approx. 16cm square.Approx 3 pieces
A mixed ceramics lot to include an unusual CARLTON WARE pot in cobalt blue with gilt highlights 27cm dia approx, plus a DEE CEE mantel vase, and a GRAY'S POTTERY hand-painted vase(18cm high) and other pottery vases etc. NB. The Carlton ware pot has a small rim chip underneath not visible from the top. The Gray's pot has a minor bottom rim chip.
Seltene KPM Porzellan Prunkvase im maurischen Stil in schmaler Balusterform mit Trichterhals und durchbrochenen Henkeln, gesamte Wandung mit vergoldeten Arabesken auf kobaltblauem Fond, auf Hals und Schulter hellgrüne sowie purpurfarbene Kartuschen mit kaligraphischen Ornamenten, Fuß und Nodus mit Relieffriesen, zweiteilig verschraubt, blaue Pfennigmarke (1847-49), rote Reichsapfelmarke, Pressnummer 38 (?), H. 45cm , Provenienz: Hamburger Slg., Vgl. Preußen Auktion, Lempertz Mai 2020, Lit.: Das weisse Gold der Zaren, St. Petersburg 2000, Abb. 79 (Die erste Vase dieser Art wurde 1838 für Zar Nikolaus I. produziert. Sie befindet sich heute in der Sammlung der Staatlichen Eremitage St. Petersburg. Das sehr ähnliche KPM Modell wurde vermutlich auch inspiriert von den "persischen" Porzellanentwürfen Karl Friedrich Schinkels. Der kalligrafische Dekor erinnert an Stuckdekore in Gebäuden in Südspanien und Marokko)
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